MUSI 1000Y

World MusicWorld Music

Much of the music around the world Much of the music around the world is part of an oral traditionis part of an oral tradition

All cultures use both voice and All cultures use both voice and instrumentsinstruments

Music is a reflection of a culture. Music is a reflection of a culture. To understand the music, we need to To understand the music, we need to understand the role it plays in that understand the role it plays in that cultureculture

What to Listen For in Music Around the World

MUSI 1000Y

World MusicWorld Music

Bunraku puppet theaterBunraku puppet theater– Akin to Western operaAkin to Western opera

– Only one performerOnly one performer

Kabuki theatreKabuki theatre– Played by an all-male castPlayed by an all-male cast

– Dancing, lively dramaDancing, lively drama

– 3 different instr. ensembles3 different instr. ensembles

Japanese Shakuhachi Music

MUSI 1000Y

World MusicWorld Music

Used in religious ceremonies Used in religious ceremonies by Zen Buddhist monksby Zen Buddhist monks

Fuke-Zenji ringing small hand-Fuke-Zenji ringing small hand-bellbell

Slides, shades of colour, Slides, shades of colour, dynamic variationsdynamic variations

Japanese Shakuhachi Music, Koku-Reibo

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Japanese Shakuhachi MusicJapanese Shakuhachi Music

Feudal Period: Buddhist chant Feudal Period: Buddhist chant and Shinto songs and prayers; and Shinto songs and prayers; courtly instrumental music and courtly instrumental music and Noh theatreNoh theatre

Edo Period: more urban, Edo Period: more urban, middle class; entertainingmiddle class; entertaining

Modern Period: popular songs Modern Period: popular songs and Western influenceand Western influence

Japanese Music Changes over Time

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Javanese Gamelan MusicJavanese Gamelan MusicGangsaran-Bima kurda-GangsaranGangsaran-Bima kurda-Gangsaran

Ceremonial musicCeremonial music The gamelan in Indonesia is The gamelan in Indonesia is

regarded with reverence and regarded with reverence and special spiritualityspecial spirituality

Requires cooperation of many Requires cooperation of many people submerging their own people submerging their own personalities into power of a personalities into power of a unified wholeunified whole

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Javanese Gamelan, Javanese Gamelan, Gangsaran-Gangsaran-Bima kurda-GangsaranBima kurda-Gangsaran

GangsaranGangsaran means “achieving means “achieving one’s purpose” and one’s purpose” and Bima Bima KurdaKurda means “angry hero” means “angry hero”

Mostly metallic instrumentsMostly metallic instruments Two drumsTwo drums Stylized danceStylized dance

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African Drumming and Mbira African Drumming and Mbira MusicMusic

People in North American People in North American tend to think of Africa as a tend to think of Africa as a single entity—over single entity—over simplifiedsimplified

Broad cultural division Broad cultural division between North Africa and between North Africa and sub-Saharansub-Saharan

Certain general traits of Certain general traits of sub-Saharan musicsub-Saharan music

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African Drumming and Mbira African Drumming and Mbira MusicMusic

1.1. Music is strongly associated Music is strongly associated with dancewith dance

2.2. Numerous instrumentsNumerous instruments

3.3. Favour drums and percussionFavour drums and percussion

4.4. Polyphonic (multiple sounds)Polyphonic (multiple sounds)

5.5. Repeated, varied and Repeated, varied and improvised melodiesimprovised melodies

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MandarendareMandarendare (A Place Full of Energy)(A Place Full of Energy)

Mystical music used to Mystical music used to communicate with the communicate with the spirits of ancestorsspirits of ancestors

Dawn ceremonyDawn ceremony 3 layers of sounds3 layers of sounds

– Regular bassRegular bass

– Two interlocking layers Two interlocking layers aboveabove

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South India:South India:SarasiruhaSarasiruha

Saraswati

The goddess of Music and Learning

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South India:South India:SarasiruhaSarasiruha

A concert is made up of a series of as many A concert is made up of a series of as many as 12-14 performance segments each in a as 12-14 performance segments each in a different different ragaraga and based upon a different and based upon a different compositioncomposition

““Sarasiruha” is a song by the 19Sarasiruha” is a song by the 19 thth Century Century composer Puliyur Doraisamy Ayyarcomposer Puliyur Doraisamy Ayyar

Performer is Ramachandra Iyer playing a Performer is Ramachandra Iyer playing a veenaveena

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South India:South India:SarasiruhaSarasiruha

Veena: a seven-stringed, plucked lute with Veena: a seven-stringed, plucked lute with ornate body, inlaid deer horn or ivory, ornate body, inlaid deer horn or ivory, carved from jackwoodcarved from jackwood

Natural or papier-mache gourd is attached Natural or papier-mache gourd is attached to the upper neck as a resonatorto the upper neck as a resonator

Brass frets are set chromaticallyBrass frets are set chromatically

Instruments

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South India:South India:SarasiruhaSarasiruha

Veena

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South India:South India:SarasiruhaSarasiruha

Mridangam

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South India:South India:SarasiruhaSarasiruha

One of the marvels of this tradition is that One of the marvels of this tradition is that instruments and musicians can be added to instruments and musicians can be added to each functional layereach functional layer

MelodyMelody DroneDrone RhythmRhythm

The Ensemble

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South India:South India: Sarasiruha Sarasiruha

The drone, or The drone, or srutisruti, marks the tonal center, marks the tonal center—the center of gravity—for the melody and —the center of gravity—for the melody and its its ragaraga

In In karnataka karnataka music the notes used for the music the notes used for the drone are the tonal center and the perfect drone are the tonal center and the perfect fifth above itfifth above it

The dissonant tones tend to “pull” toward The dissonant tones tend to “pull” toward tones that blend with the dronetones that blend with the drone

Sruti (the Drone)

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South India:South India: Sarasiruha Sarasiruha

The The veenaveena begins alone (without the drum) in a begins alone (without the drum) in a free-flowing melodic improv called free-flowing melodic improv called atapanaatapana

No sense of beat or time cyclesNo sense of beat or time cycles Pauses filled in with dronesPauses filled in with drones Slides, pulls and tremolosSlides, pulls and tremolos Intervals, scales, and colours very different from Intervals, scales, and colours very different from

the Western traditionthe Western tradition

Raga (the Expressive Mode)

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South India:South India: Sarasiruha Sarasiruha

At 5:42 the At 5:42 the kriti kriti begins (composition)begins (composition) New element added: New element added: talatala Heard by the striking of the droneHeard by the striking of the drone The The tala tala in this case is the in this case is the AdiAdi

4 + 2 + 24 + 2 + 2 Once entered, will continue until the endOnce entered, will continue until the end

Tala (the Time Cycle)

MUSI 1000Y

South India:South India: Sarasiruha Sarasiruha

Kalpita sangeeta: Kalpita sangeeta: precomposed musicprecomposed music Manodharma sangeetaManodharma sangeeta: improvised music: improvised music Four major types of improv in Four major types of improv in karnatakakarnataka

– AlpanaAlpana– TanamTanam– NiravalNiraval– Svara kalpanaSvara kalpana

Musical Structure: Improvisation

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South India:South India: Sarasiruha Sarasiruha

All compositions in All compositions in karnatkakarnatka music are music are songs, melodies with wordssongs, melodies with words

Three main sectionsThree main sections– PallaviPallavi (“the sprouting,” “blossoming” (“the sprouting,” “blossoming”– Anupallavi Anupallavi (“after the sprouting, blossoming”(“after the sprouting, blossoming”– CharanamCharanam (“verse” or “foot”) (“verse” or “foot”)– Chitta svaram Chitta svaram or or Svara sahityam Svara sahityam (Optional)(Optional)

Musical Structure: The Kriti

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Sioux Grass DanceSioux Grass Dance

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Sioux Grass DanceSioux Grass Dance

Piercing falsettoPiercing falsetto Swooping strainSwooping strain Driving beatDriving beat Multiple, independent metersMultiple, independent meters Heavy portamentos (sliding Heavy portamentos (sliding

voices)voices) Vocables (nonsense Vocables (nonsense

syllables)syllables)

                  

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Sioux Grass DanceSioux Grass Dance

½ A ½ A A A B B AA8 8 B B AA88

½ A ½ A A A B B AA8 8 B B AA88

½ A ½ A A A B B AA8 8 B B AA88 B AB A

FormForm

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Sioux Grass DanceSioux Grass Dance

Foot: Foot: left left rightright right left left right right left left right

Mov’t: stepMov’t: step toe-heel change toe-heel change toe-heel, toe-heel change toe-heel change toe-heel, etc etc

DancingDancing

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Zuni LullabyZuni Lullaby

MUSI 1000Y

Zuni LullabyZuni Lullaby

Recorded in 1950 by Lanaiditsa on the Zuni Recorded in 1950 by Lanaiditsa on the Zuni Reservation in western New MexicoReservation in western New Mexico

The importance of repetitionThe importance of repetition Each textual phrase can be used with either Each textual phrase can be used with either

musical phrase except for “my boy” which musical phrase except for “my boy” which is always on an “A”is always on an “A”

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Zuni LullabyZuni Lullaby

Hm atseki My boy

Okshits’ana Cottontail little

Poket’sana Jackrabbit little

Kochits’ana Rat little

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Zuni LullabyZuni Lullaby

1. My boy, little cottontail,1. My boy, little cottontail,

Little jackrabbit, little jackrabbitLittle jackrabbit, little jackrabbit

2. My boy, little cottontail,2. My boy, little cottontail,

Little rat, little boy, little boyLittle rat, little boy, little boy

3. My boy, little jackrabbit,3. My boy, little jackrabbit,

Little cottontail, little cottontailLittle cottontail, little cottontail

4. My boy, little jackrabbit,4. My boy, little jackrabbit,

Little cottontail, little rat, little ratLittle cottontail, little rat, little rat

5. My boy, little jackrabbit,5. My boy, little jackrabbit,

Little cottontail, little rat, little rat (3 times)Little cottontail, little rat, little rat (3 times)

MUSI 1000Y

Zuni LullabyZuni Lullaby

AA AA BB BB

AA AA AA BB BB

AA AA BB BB

AA AA BB BB BB

AA AA AA BB B B (three (three times)times)

Phrase Structure

MUSI 1000Y

Yeibichai Song from the Yeibichai Song from the Nightway CeremonyNightway Ceremony

MUSI 1000Y

Yeibichai Song from the Yeibichai Song from the Nightway CeremonyNightway Ceremony

XX YY ZZ A A AA ½ A½ A ½ A½ A BB V V WWA ½ A ½ A ½ A ½ ½ A½ A ½ A½ A BB VV

Y’Y’ Z Z Y ½ Y ½ ZZ AA AA ½ A½ A ½ A½ A BB VV WW

A ½ A ½ A ½ A ½ ½ A½ A ½ A½ A BB VVY’Y’ ZZY ½ Y ½ ZZ AA AA ½ A½ A ½ A½ A BB VV WW

A ½ A ½ A ½ A ½ ½ A½ A ½ A½ A BB VVY’ Y’ ZZ

Phrase Structure

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Yeibichai Song from the Yeibichai Song from the Nightway CeremonyNightway Ceremony

Call of the Yei (gods)Call of the Yei (gods) The teams compete and the best The teams compete and the best

combination of costumes, clowns, singing combination of costumes, clowns, singing and dancing receives a gift from the family and dancing receives a gift from the family giving the ceremony giving the ceremony

The representation of the presence of the The representation of the presence of the gods at the Nightway brings god-power to gods at the Nightway brings god-power to the ceremony and helps the sick person get the ceremony and helps the sick person get wellwell